If I Stay

8:12 P.M

I watch Kim and Adam disappear down the hall. I mean to follow them but I’m glued to the linoleum, unable to move my phantom legs. It’s only after they disappear around a corner that I rouse myself and trail after them, but they’ve already gone inside the elevator.

By now I’ve figured out that I don’t have any supernatural abilities. I can’t float through walls or dive down stairwells. I can only do the things I’d be able do in real life, except that apparently what I do in my world is invisible to everyone else. At least that seems to be the case because no one looks twice when I open doors or hit the elevator button. I can touch things, even manipulate door handles and the like, but I can’t really feel anything or anybody. It’s like I’m experiencing everything through a fish-bowl. It doesn’t really make sense to me, but then again, nothing that’s happening today makes much sense.

I assume that Kim and Adam are headed to the waiting room to join the vigil, but when I get there, my family is not there. There’s a stack of coats and sweaters on the chairs and I recognize my cousin Heather’s bright orange down jacket. She lives in the country and likes to hike in the woods, so she says that the neon colors are necessary to keep drunk hunters from mistaking her for a bear.

I look at the clock on the wall. It could be dinnertime. I wander back down the halls to the cafeteria, which has the same fried-food, boiled-vegetable stench as cafeterias everywhere. Unappetizing smell aside, it’s full of people. The tables are crammed with doctors and nurses and nervous-looking medical students in short white jackets and stethoscopes so shiny that they look like toys. They are all chowing down on cardboard pizza and freeze-dried mashed potatoes. It takes me a while to locate my family, huddled around a table. Gran is chatting to Heather. Gramps is paying careful attention to his turkey sandwich.

Aunt Kate and Aunt Diane are in the corner, whispering about something. “Some cuts and bruises. He was already released from the hospital,” Aunt Kate is saying, and for a second I think she’s talking about Teddy and am so excited I could cry. But then I hear her say something about there being no alcohol in his system, how our car just swerved into his lane and some guy named Mr. Dunlap says he didn’t have time to stop, and then I realize it’s not Teddy they’re talking about; it’s the other driver.

“The police said it was probably the snow, or a deer that caused them to swerve,” Aunt Kate continues. “And apparently, this lopsided outcome is fairly common. One party is just fine and the other suffers catastrophic injuries. .” She trails off.

I don’t know that I’d call Mr. Dunlap “just fine,” no matter how superficial his injuries. I think about what it must be like to be him, to wake up one Tuesday morning and get into your truck to head off to work at the mill or maybe to the feed-supply store or maybe to Loretta’s Diner to have eggs over easy. Mr. Dunlap, who was maybe perfectly happy or perfectly miserable, married with kids or a bachelor. But whatever and whoever he was early this morning, he isn’t that person any longer. His life has changed irrevocably, too. If what my aunt says is true, and the crash wasn’t his fault, then he was what Kim would call “a poor schmuck,” in the wrong place at the wrong time. And because of his bad luck and because he was in his truck, driving eastbound on Route 27 this morning, two kids are now parentless and at least one of them is in grave condition.

How do you live with that? For a second, I have a fantasy of getting better and getting out of here and going to Mr. Dunlap’s house, to relieve him of his burden, to reassure him that it’s not his fault. Maybe we’d become friends.

Of course, it probably wouldn’t work like that. It would be awkward and sad. Besides, I still have no idea what I will decide, still have no clue how I would determine to stay or not stay in the first place. Until I figure that out, I have to leave things up to the fates, or to the doctors, or whoever decides these matters when the decider is too confused to choose between the elevator and the stairs.

I need Adam. I take a final look for him and Kim but they’re not here, so I head back upstairs to the ICU.

I find them hiding out on the trauma floor, several halls away from the ICU. They’re trying to look casual as they test out the doors to various supply closets. When they finally find an unlocked one, they sneak inside. They fumble around in the dark for a light switch. I hate to break it to them, but it’s actually back out in the hall.

“I’m not sure this kind of thing works outside of the movies,” Kim tells Adam as she feels along the wall.

“Every fiction has its base in fact,” he tells her.

“You don’t really look like the doctor type,” she says.

“I was hoping for orderly. Or maybe janitor.”

“Why would a janitor be in the ICU?” Kim asks. She’s a stickler for these kinds of details.

“Broken lightbulb. I don’t know. It’s all in how you pull it off.”

“I still don’t understand why you don’t just go to her family?” asks Kim, pragmatic as ever. “I’m sure her grandparents could explain, could get you in to see Mia.”

Adam shakes his head. “You know, when the nurse threatened to call security, my first thought was ‘I’ll just call Mia’s parents to fix this.’” Adam stops, takes a few breaths. “It just keeps walloping me over and over, and it’s like it’s the first time every time,” he says in a husky voice.

“I know,” Kim replies in a whisper.

“Anyhow,” Adam says, resuming his search for the light switch, “I can’t go to her grandparents. I can’t add anything more to their burden. This is something I have to do for myself.”

I’m sure my grandparents would actually be happy to help Adam. They’ve met him a bunch of times, and they like him a lot. On Christmas, Gran is always sure to make maple fudge for him because he once mentioned how much he liked it.

But I also know that sometimes Adam needs to do things the dramatic way. He is fond of the Grand Gesture. Like saving up two weeks of pizza-delivery tips to take me to Yo-Yo Ma instead of just asking me out on a regular date. Like decorating my windowsill with flowers every day for a week when I was contagious with the chicken pox.

Now I can see that Adam is concentrating on the new task at hand. I’m not sure what exactly he has in mind, but whatever the plan, I’m grateful for it, if only because it’s pulled him out of his emotional stupor I saw in the hallway outside the ICU. I’ve seen him get like this before, when he’s writing a new song or is trying to convince me to do something I won’t want to do — like go camping with him — and nothing, not a meteorite crashing into the planet, not even a girlfriend in the ICU, can dissuade him.

Besides, it’s the girlfriend in the ICU that’s necessitating Adam’s ruse to begin with. And from what I can guess, it’s the oldest hospital trick in the book, taken straight from that movie The Fugitive, which Mom and I recently watched on TNT. I have my doubts about it. So does Kim.

“Don’t you think that nurse might recognize you?” Kim asks. “You did yell at her.”

“She won’t have to recognize me if she doesn’t see me. Now I get why you and Mia are such peas in a pod. A pair of Cassandras.”

Adam has never met Mrs. Schein, so he doesn’t get that implying that Kim is a worrywart is fighting words. Kim scowls, but then I can see her give in. “Maybe this retarded plan of yours would work better if we could actually see what we’re doing.” She fumbles around in her bag and pulls out the cell phone her mother made her start carrying when she was ten — child LoJack, Kim called it — and turned on the monitor. A square of light softens the darkness.

“Now, that’s more like the brilliant girl Mia brags about,” Adam says. He turns on his own cell phone and now the room is illuminated by a dull glow.

Unfortunately, the glow shows that the tiny broom closet is full of brooms, a bucket, and a pair of mops, but is lacking any of the disguises that Adam was hoping for. If I could, I would inform them that the hospital has locker rooms, where the doctors and nurses can stow their street clothes and where they change into their scrubs or their lab coats. The only generic hospital garb sitting around are those embarrassing gowns that they put the patients in. Adam probably could throw on a gown and cruise the hallways in a wheelchair with no one the wiser, but such a getup would still not get him into the ICU.

“Shit,” Adam says.

“We can keep trying,” Kim says, suddenly the cheer-leader. “There are like ten floors in this place. I’m sure there are other unlocked closets.”

Adam sinks to the floor. “Nah. You’re right. This is stupid. We need to come up with a better plan.”

“You could fake a drug overdose or something so you wind up in the ICU,” Kim says.

“This is Portland. You’re lucky if a drug overdose gets you into the ER,” Adam replies. “No, I was thinking more like a distraction. You know, like making the fire alarm go off so the nurses all come running out.”

“Do you really think sprinklers and panicked nurses are good for Mia?” Kim asks.

“Well, not that exactly, but something so that they all look away for half a second and I stealthily sneak in.”

“They’ll find you out right away. They’ll throw you out on your backside.”

“I don’t care,” Adam responds. “I only need a second.”

“Why? I mean what can you do in a second?”

Adam pauses for a second. His eyes, which are normally a kind of mutt’s mixture of gray and brown and green, have gone dark. “So I can show her that I’m here. That someone’s still here.”

Kim doesn’t ask any more questions after that. They sit there in silence, each lost in their own thoughts, and it reminds me of how Adam and I can be together but quiet and separate and I realize that they’re friends now, friends for real. No matter what happens, at least I have achieved that.

After about five minutes, Adam knocks on his forehead.

“Of course,” he says.

“What?”

“Time to activate the Bat Signal.”

“Huh?”

“Come on. I’ll show you.”

When I first started playing the cello, Dad was still playing drums in his band, though that all started to taper off a couple years later when Teddy arrived. But right from the get-go, I could see that there was something different about playing my kind of music, something more than my parents’ obvious bewilderment with my classical tastes. My music was solitary. I mean Dad might hammer on his drums for a few hours by himself or write songs alone at the kitchen table, plinking out the notes on his beat-up acoustic guitar, but he always said that songs really got written as you played them. That was what made it so interesting.

When I played, it was most often by myself, in my room. Even when I practiced with the rotating college students, other than during lessons, I still usually played solo. And when I gave a concert or recital, it was alone, on a stage, my cello, myself, and an audience. And unlike Dad’s shows, where enthusiastic fans jumped the stage and then dive-bombed into the crowd, there was always a wall between the audience and me. After a while playing like this got lonely. It also got kind of boring.

So in the spring of eighth grade I decided to quit. I planned to trail off quietly, by cutting back my obsessive practices, not giving recitals. I figured that if I laid off gradually, by the time I entered high school in the fall, I could start fresh, no longer be known as “the cellist.” Maybe then I’d pick up a new instrument, guitar or bass, or even drums. Plus, with Mom too busy with Teddy to notice the length of my cello practice, and Dad swamped with lesson plans and grading papers at his new teaching job, I figured nobody would even realize that I’d stopped playing until it was already a done deal. At least that’s what I told myself. The truth was, I could no sooner quit cello cold turkey than I could stop breathing.

I might have quit for real, were it not for Kim. One afternoon, I invited her to go downtown with me after school.

“It’s a weekday. Don’t you have practice?” she asked as she twisted the combination on her locker.

“I can skip it today,” I said, pretending to search for my earth-science book.

“Have the pod people stolen Mia? First no recitals. And now you’re skipping out on practice. What’s going on?”

“I don’t know,” I said, tapping my fingers against the locker. “I’m thinking of trying a new instrument. Like drums. Dad’s kit is down in the basement gathering dust.”

“Yeah, right. You on drums. That’s rich,” Kim said with a chuckle.

“I’m serious.”

Kim had looked at me, her mouth agape, like I’d just told her I planned on sautéing up a platter of slugs for dinner. “You can’t quit cello,” she said after a moment of stunned silence.

“Why not?”

She looked pained as she tried to explain. “I don’t know but it just seems like your cello is part of who you are. I can’t imagine you without that thing between your legs.”

“It’s stupid. I can’t even play in the school marching band. I mean, who plays the cello anyhow? A bunch of old people. It’s a dumb instrument for a girl to play. It’s so dorky. And I want to have more free time, to do fun stuff.”

“What kind of ‘fun stuff’?” Kim challenged.

“Um, you know? Shopping. Hanging out with you. .”

“Please,” Kim said. “You hate to shop. And you hang out with me plenty. But fine, skip practice today. I want to show you something.” She took me home with her and dragged out a CD of Nirvana MTV Unplugged and played me “Something in the Way.”

“Listen to that,” she said. “Two guitar players, a drummer, and a cello player. Her name is Lori Goldston and I bet when she was younger, she practiced two hours a day like some other girl I know because if you want to play with the philharmonic, or with Nirvana, that’s what you have to do. And I don’t think anyone would dare call her a dork.”

I took the CD home and listened to it over and over for the next week, pondering what Kim said. I pulled my cello out a few times, played along. It was a different kind of music than I’d played before, challenging, and strangely invigorating. I planned to play “Something in the Way” for Kim the following week when she came over for dinner.

But before I had a chance, at the dinner table Kim casually announced to my parents that she thought I ought to go to summer camp.

“What, you trying to convert me so I’ll go to your Torah camp?” I asked.

“Nope. It’s music camp.” She pulled out a glossy brochure for the Franklin Valley Conservatory, a summer program in British Columbia. “It’s for serious musicians,” Kim said. “You have to send a recording of your playing to get in. I called. The deadline for applications is May first, so there’s still time.” She turned to face me head-on, as if she were daring me to get mad at her for interfering.

I wasn’t mad. My heart was pounding, as if Kim had announced that my family won a lottery and she was about to reveal how much. I looked at her, the nervous look in her eyes betraying the “you wanna piece of me?” smirk on her face, and I was overwhelmed with gratitude to be friends with someone who often seemed to understand me better than I understood myself. Dad asked me if I wanted to go, and when I protested about the money, he said never mind about that. Did I want to go? And I did. More than anything.

Three months later, when Dad dropped me off in a lonely corner of Vancouver Island, I wasn’t so sure. The place looked like a typical summer camp, log cabins in the woods, kayaks strewn on the beach. There were about fifty kids who, judging by the way they were hugging and squealing, had all known one another for years. Meanwhile, I didn’t know anybody. For the first six hours, no one talked to me except for the camp’s assistant director, who assigned me to a cabin, showed me my bunk bed, and pointed the way to the cafeteria, where that night, I was given a plate of something that appeared to be meat loaf.

I stared miserably at my plate, looking out at the gloomy gray evening. I already missed my parents, Kim, and especially Teddy. He was at that fun stage, wanting to try new things and constantly asking “What’s that?” and saying the most hilarious things. The day before I left, he informed me that he was “nine-tenths thirsty” and I almost peed myself laughing. Homesick, I sighed and moved the mass of meat loaf around my plate.

“Don’t worry, it doesn’t rain every day. Just every other day.”

I looked up. There was an impish kid who couldn’t have been more than ten years old. He had a blond buzz cut and a constellation of freckles falling down his nose.

“I know,” I said. “I’m from the Northwest, though it was sunny where I lived this morning. It’s the meat loaf I’m worried about.”

He laughed. “That doesn’t get better. But the peanut-butter-and-jelly is always good,” he said, gesturing to a table where a half-dozen kids were fixing themselves sandwiches. “Peter. Trombone. Ontario,” he said. This, I would learn, was standard Franklin greeting.

“Oh, hey. I’m Mia. Cello. Oregon, I guess.”

Peter told me that he was thirteen, and this was his second summer here; almost everyone started when they were twelve, which is why they all knew one another. Of the fifty students, about half did jazz, the other half classical, so it was a small crew. There were only two other cello players, one of them a tall lanky red-haired guy named Simon who Peter waved over.

“Will you be trying for the concerto competition?” Simon asked me as soon as Peter introduced me as Mia. Cello. Oregon. Simon was Simon. Cello. Leicester, which turned out to be a city in England. It was quite the international group.

“I don’t think so. I don’t even know what that is,” I answered.

“Well, you know how we all perform in an orchestra for the final symphony?” Peter asked me.

I nodded my head, though really I had only a vague idea. Dad had spent the spring reading out loud from the camp’s literature, but the only thing I’d cared about was that I was going to camp with other classical musicians. I hadn’t paid too much attention to the details.

“It’s the summer’s end symphony. People from all over come to it. It’s a quite a big deal. We, the youngster musicians, play as a sort of cute sideshow,” Simon explained. “However, one musician from the camp is chosen to play with the professional orchestra and to perform a solo movement. I came close last year but it went to a flutist. This is my second-to-last chance before I graduate. It hasn’t gone to strings in a while, and Tracy, the third of our little trio here, isn’t trying out. She’s more of a hobby player. Good but not terribly serious. I heard you were serious.”

Was I? Not so serious that I hadn’t been on the verge of quitting. “How’d you hear that?” I asked.

“The teachers hear all the application reels and word gets around. Your audition tape was apparently quite good. It’s unusual to admit someone in year two. So I was hoping for some bloody good competition, to up my game, as it were.”

“Whoa, give the girl a chance,” Peter said. “She’s only just tasted the meat loaf.”

Simon shriveled his nose. “Beg pardon. But if you want to put heads together about audition choices, let’s have a little chat about that,” he said, and disappeared off in the direction of the sundae bar.

“Forgive Simon. We haven’t had high-quality cellists for a couple years, so he’s excited about new blood. In a purely aesthetic way. He’s queer, though it may be hard to tell because he’s English.”

“Oh. I see. But what did he say? I mean it sounds like he wants me to compete against him.”

“Of course he does. That’s the fun. That’s why we’re all at camp in the middle of a flipping rain forest,” he said, gesturing outside. “That and the amazing cuisine.” Peter looked at me. “Isn’t that why you’re here?”

I shrugged. “I don’t know. I haven’t played with that many people, at least that many serious people.”

Peter scratched his ears. “Really? You said you’re from Oregon. Ever done anything with the Portland Cello Project?”

“The what?”

“Avant-garde cello collective, eh. Very interesting work.”

“I don’t live in Portland,” I mumbled, embarrassed that I’d never even heard of any Cello Project.

“Well then, who do you play with?”

“Other people. College students mostly.”

“No orchestra? No chamber-music ensemble? String quartet?”

I shook my head, remembering a time when one of my student teachers invited me to play in a quartet. I’d turned her down because playing one-on-one with her was one thing; playing with complete strangers was another. I’d always believed that the cello was a solitary instrument, but now I was starting to wonder if maybe I was the solitary one.

“Hmm. How are you any good?” Peter asked. “I don’t mean to sound like an asshole, but isn’t that how you get good? It’s like tennis. If you play someone crappy, you end up missing shots or serving all sloppy, but if you play with an ace player, suddenly you’re all at the net, lobbing good volleys.”

“I wouldn’t know,” I told Peter, feeling like the most boring, sheltered person ever. “I don’t play tennis, either.”

The next few days went by in a blur. I had no idea why they put out the kayaks. There was no time for playing. Not that kind, anyway. The days were totally grueling. Up at six-thirty, breakfast by seven, private study time for three hours in the morning and in the afternoon, and orchestra rehearsal before dinner.

I’d never played with more than a handful of musicians before, so the first few days in orchestra were chaotic. The camp’s musical director, who was also the conductor, scrambled to get us situated and then it was everything he could do to get us playing the most basic of movements in any semblance of time. On the third day, he trotted out some Brahms lullabies. The first time we played, it was painful. The instruments didn’t blend so much as collide, like rocks caught in a lawn mower. “Terrible!” he screamed. “How can any of you ever expect to play in a professional orchestra if you cannot keep time on a lullaby? Now again!”

After about a week, it started to gel and I got my first taste of being a cog in the machine. It made me hear the cello in an entirely new way, how its low tones worked in concert with the viola’s higher notes, how it provided a foundation for the woodwinds on the other side of the orchestra pit. And even though you might think that being part of a group would make you relax a little, not care so much how you sounded blended among everyone else, if anything, the opposite was true.

I sat behind a seventeen-year-old viola player named Elizabeth. She was one of the most accomplished musicians in the camp — she’d been accepted into the Royal Conservatory of Music in Toronto — and she was also model-gorgeous: tall, regal, with skin the color of coffee, and cheekbones that could carve ice. I would’ve been tempted to hate her were it not for her playing. If you’re not careful, the viola can make the most awful screech, even in the hands of practiced musicians. But with Elizabeth the sound rang out clean and pure and light. Hearing her play, and watching how deeply she lost herself in the music, I wanted to play like that. Better even. It wasn’t just that I wanted to beat her, but also that I felt like I owed it to her, to the group, to myself, to play at her level.

“That’s sounding quite beautiful,” Simon said toward the end of camp as he listened to me practice a movement from Hayden’s Cello Concerto no. 2, a piece that had given me no end of trouble when I’d first attempted it last spring. “Are you using that for the concerto competition?”

I nodded. Then I couldn’t help myself, I grinned. After dinner and before lights-out every night, Simon and I had been bringing our cellos outside to hold impromptu concerts in the long twilight. We took turns challenging each other to cello duels, each trying to out-crazy-play the other. We were always competing, always trying to see who could play something better, faster, from memory. It had been so much fun, and was probably one reason why I was feeling so good about the Hayden.

“Ahh, someone’s awfully confident. Think you can beat me?” Simon asked.

“At soccer. Definitely,” I joked. Simon often told us that he was the black sheep in his family not because he was gay, or a musician, but because he was such a “shitey footballer.”

Simon pretended that I’d shot him in the heart. Then he laughed. “Amazing things happen when you stop hiding behind that hulking beast,” he said, gesturing to my cello. I nodded. Simon smiled at me. “Well, don’t go getting quite so cocky. You should hear my Mozart. It sounds like the bloody angels singing.”

Neither one of us won the solo spot that year. Elizabeth did. And though it would take me four more years, eventually I’d nab the solo.